504. Section 01: Independent Study Art History
Index: 61167
by arrangement with professor
This course is an independent study a chosen professor on an agreed topic.A summary of the topic must be submitted to the graduate office and must be signed by both the professor and the student.
THIS COURSE IS NOT FOR Ph.D. QUALIFYING EXAM STUDY - see section 02.
504. Section 02: Independent Study Art History (Qual Exam Section)
Index: 63566
by arrangement - Special Permission required
This section is reserved exclusively for Qualifying Examination study.
If you entered the graduate program
With a Master’s register for three (3) credits.
Without a Master’s register for six (6) credits.
506. Approaches Art History
Index: 68434
Prerequisites: N/A
TH 1:00-3:40/VH001, Thuno
METHODS IN ART HISTORY
This seminar focuses on basic types of art-historical method. Some meetings focus on a single author who exemplifies a particular approach. Others are devoted to important debates concerning conceptual bases of the discipline and/or theoretical models relevant to it. The purpose is to provide students with the basic tools of visual analysis and with an overview of the history of the discipline.
591. Internship in Historic Preservation
Index: 67334
Prerequisites: N/A
by arrangement - Special Permission required, Staff
The Internship in Historic Preservation is the fifth of five required courses for the Certificate in Historic Preservation. This supervised internship is restricted to students enrolled in the certificate program.
594. Studies in CHAPS
Section 01: Index 73451, Topics in Museum Policy, Ethics and History
Tuesday 4:30-7:30/VH001, Daniels
Nationalism, Cosmopolitanism, and Contested Cultural Heritage
This course examines how nationalism and cosmopolitanism frame debates about ownership, universalism, and the display of cultural heritage. Contemporary debates about cultural heritage are often divided into competing “national” or “cosmopolitan” perspectives. What do these terms mean? How are they employed? What are their political and ethical consequences? What import do they have upon the future of museums and collections? This seminar will give students the opportunity to understand how museum practitioners, art historians, anthropologists, and archaeologists have conceived of their professional and moral responsibilities to local constituencies, political structures, and universal ideals. Our aim is to understand how ideas like “nationalism” and “cosmopolitanism” are related to each other, and the stakes they represent in a global debate that touches upon every dimension of museum policy and curation. Students will engage a series of critical readings that frame the contemporary arguments about the disposition of art, heritage, and cultural property. Seminar participants will have the opportunity to apply seminar discussions to their own area of interest and expertise.
Section 02: Index 76197, Studio in Preservation
Mondays 4:30-7:30/VH001, Cruiess
Studio in Preservation: The Cemetery at First Reformed Church, New Brunswick, New Jersey
This studio focuses on four major concepts: background research, writing historical narratives, inventory of significant elements in the cemetery, and a conditions assessment of the grave markers in the cemeteries. The goal of the course is to provide students with real-world experience in utilizing archives and local repositories for background research and writing background histories for sites and individuals. The students will research the design (including carvers/artists) and iconography of the grave markers in the cemetery. For the final focus area, lectures will focus on architectural conservation as it pertains to the materials found within the cemetery. Finally, the studio will culminate in the design and pilot implementation of a survey of the cemetery. The pilot survey will record current photography, art historical information, biographical information, conditions of grave markers, and treatment recommendations.
The studio course will be followed by a summer field school open to students who have completed the studio. The field school will be divided into two sections. The first will focus on a full-scale implementation of the survey of the cemetery and creating a database for the cemetery that incorporates the photography and data collected during the studio. The second will focus on a pilot program to implement sample treatment recommendations within the cemetery. The field school will fill internship/field study requirements for CHAPS students.
Section 03: Index #77444, Native American Art, Cultural Heritage, and Cultural Preservation
Wednesdays 9:50-12:40/Zimmerli Education Room, Woodhouse-Beyer
This course employs an art historical and anthropological approach to the study of Native American visual art and the way in which indigenous material culture creatively, and actively, functions within the context of cultural heritage and cultural preservation. Coursework will include such topics as representations of and by Native Americans from the late 15th century to the modern time, the social, religious and political contexts of Native American art and visual culture in selected regions and critical points in history, the appropriation and commoditization of Native American art from the late 19th and early 20th centuries, Native American artists of the 20th and 21st centuries, and the role of archaeology and visual art in cultural heritage preservation.
595. Curatorial Internship I
Index: 61168
by arrangement - Special Permission required, Prof. Marter
596. Curatorial Internship II
Index: 61169
by arrangement - Special Permission required, Prof. Marter
599. Curatorial Internship III
Index: 64500
by arrangement - Special Permission required, Prof. Marter
602. Special Topics in Art History
Index: 65760
Wednesday 4:00-6:40/VH001, Weigert
Art and Performance II: Processions in Late Medieval and Early Modern Art
This seminar focuses on images of processions produced from the 14th-16th century, primarily in France and Flanders. It investigates a wide range of processional activity: festivals, royal entries, funeral, weddings, and exorcisms represented in a variety of media, including, manuscript illumination, prints, tapestry, wall and panel painting, and sculpture. Drawing on interpretive models from the fields of History, Literature, and Performance Studies, we will discuss the meaning and social function of these images and their role in commemorating real or imagined events. Students will be encouraged to work on paper topics related to their personal interests and expertise.
630. Problems in Italian Renaissance Art
Index: 74245
Tuesday 1:00-3:40, McHam
The Images of Women and their Worlds
This seminar is planned in conjunction with the contemporaneous exhibition at the Metropolitan Museum on Love and Marriage in Renaissance Italy. It will consider the various types of images of Italian women that emerged in the fifteenth and sixteenth century, including portraits that established their status as respectable wives or as objects of platonic and/or carnal desire, the items of domestic material culture that celebrated important stages of their procreative lives and decorated their homes such as wedding chests, bed frames, and birth trays, and the ways in which female figures personified didactic lessons of moral virtue or enacted erotic fantasies in paintings, drawings, and prints. It will focus on objects created in Tuscany and Venice, evaluating them through a close reading of art historical and historical secondary materials, but also by reference to sources such as contemporary literature, documents, and texts, sumptuary legislation, costume history, and material culture studies.
Students will be expected to engage in discussion of each week’s readings, which after a series of introductory lectures, will be organized as a rotation of students in charge of presenting a reading and leading discussion of it. Students are also expected to choose an object on which to do their own detailed investigation to be presented to the class as an oral report, and written up at semester’s end as a research paper.
655. Problems in 20th Century Art
Index: 71674
Tuesday 9:50-12:30, Sharp
Conceptual Art: Globalization and Regional Contexts
This seminar will explore questions posed by the global reach of conceptual art practices by examining the taxonomies of conceptual art—as defined in the West—against and within the context of particular, regional visual cultures.
Critical developments in the U.S.A. and Europe will be one focus; another will be Eastern Europe and Russia. The course should serve both as an introduction to key theoretical writings on conceptual art and an opportunity to formulate original research questions around individual artists’ oeuvres. Students will be encouraged to research art works (and communities) that suspend international/cultural boundaries, such as Fluxus. We will also consider work by artists who live in diaspora. Students will be asked to present readings to the class, give an oral presentation, and submit a final paper.
657. PROBLEMS MODERN ART
Index: 74246
Monday 9:50-12:30, Zervigon
CROSSROADS IN EMULSION: INTERWAR GERMAN AND SOVIET PHOTOGRAPHY.
In 1926, the Soviet avant-garde polymath Ossip Brik declared that “photography is supplanting painting.” The same year, German commentator H. Wieynck pronounced that “photography, generally speaking, no longer imitates art, rather art imitates photography.” What had happened in these two countries to make photography the final measure of art? What were to be the consequences? Were German and Soviet image makers observing each other? What did photography provide that painting, for example, could no longer manage? Could there have existed political and social parallels in these two countries that generated similar deployments of photography? Our seminar will seek answers to these questions by exploring the two decades during which Germany and the Soviet Union entered an intense photographic dialogue. We will explore the movements and cultural conditions that most benefited from this exchange including: Germany’s Dada, The New Objectivity, The New Vision, The Worker Photography Movement, and the Soviet Union’s Constructivism, Productivism, Factography, The Proletarian Photography Movement and Operativism. We will also review the history of photography in order to draw a distinction between the medium’s earlier forms and those that followed the First World War.
658. Probs Race & Representation
Index: 73051
Monday 1:00-3:40/VH001, Sidlauskas
GENDER AND ORIENTALISM
In this course, we will focus on a series of case studies–examples of early modern painting, sculpture, photography and film–that suggest a dynamic, if not symmetrical, exchange between the “Orient” and the Occident. The issue of gender–constructions of both the feminine and the masculine; the role of gender in decorative arts and costume; the inescapably gendered position of the viewer; the space of the harem, as both imaginative and architectural construct; the figure of the eunuch–will serve as the main organizer for our discussions, although we will also grapple with themes of race, geography and politics. The agency of the “oriental” subject will be considered, as well as the impact of the Middle East and North Africa on representation in both Europe and America. We will weigh a variety of questions: how did the geographic, sexual, racial and economic positions of the oriental figures shape the forms, the content, and the display of the art produced by Western observers. And, in turn, how did that art shape perceptions of both Eastern and Western beholders? We will also consider the fluid nature of orientalist patronage. Who commissioned harem paintings, and photographs and why? How were these works distributed and/or displayed? Are there crucial distinctions to be drawn between the female and the male orientalist artist? We will consider the standard texts on orientalism, along with more recent critical essays in art history, literature, gender studies, and anthropology. Students will do brief weekly responses to readings, a presentation, and paper.
699. Non-Thesis Study
Index: 61170
by arrangement - Special Permission required
702. Research in Art History
Professor | Section | Index |
| Prof. Brett-Smith | B2 | 65418 | Prof. Flores | F1 | 71679 | Prof. St. Clair Harvey | H1 | 61171 | Prof. Howard | H2 | 71681 | Prof. Kenfield | K2 | 61172 | Prof. Marder | M1 | 61173 | Prof. Marter | M2 | 61174 | Prof. McHam | M3 | 61175 | Prof. Paul | P1 | 71683 | Prof. Puglisi | P2 | 63365 | Prof. Sharp | S1 | 67776 | Prof. Sheehan | S2 | 71684 | Prof. Sidlauskas | S3 | 68203 | Prof. J.P. Small | S4 | 68204 | Prof. Thunø | T1 | 67777 | Prof. Weigert | W1 | 71685 | Prof. Yanni | Y1 | 65346 | Prof. Zervigón | Z1 | 68818 |
705. Research Proposal
Index: 64049
by arrangement - Special Permission required
If you entered the graduate program:
With a Master’s register for three (3) credits.
Without a Master’s register for six (6) credits.
800. MATRICULATION CONTINUED
Index: 61176
By permission of the Graduate Director
811. GRADUATE FELLOWSHIP
Index: 61177
If you are a fellowship recipient you must register for this course (zero credits).
Fellowship recipients must register for a minimum of 9 credits but no more than 16.
Dissertation fellowship students (ABD’s) may register for less than 12 credits.
866. GRADUATE ASSISTANTSHIP
Index: 61178
If you hold a graduate assistantship in the Zimmerli you must register for this as six “E” credits.
877. TEACHING ASSISTANTSHIP
Index: 61179
If you have been awarded a teaching assistantship, you must register for this as six “E” credits.
Teaching Assistants with standard appointments also receive an additional Summer remission for 6 credits. Teaching Assistants on one semester appointments receive an additional Summer remission for 3 credits.
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